Dream Theater Metropolis Part 2 Scenes From A Memory Rar File
"Metropolis Part 2: Scenes From A Memory" was recorded at Bear Track Studios in New York, the same place where the band had previously recorded their second studio album "Images And Words" in 1992 and their EP "A Change Of Seasons" in 1995. It was the first album to feature their new keyboardist Jordan Rudess. After participating in Liquid Tension Experiment project with Rudess, Petrucci and Portnoy found themselves writing music and working together actually quite easily. So, it was easy to convince LaBrie and Myung to offer Rudess the position of full time keyboardist on band's next studio album. As they accepted, the current keyboardist of the band at time, Derek Sherinian, was fired.So, the line up on "Metropolis Part 2: Scenes From A Memory" is James LaBrie (lead vocals), John Petrucci (backing vocals and guitars), Jordan Rudess (keyboards), John Myung (bass) and Mike Portnoy (backing vocals and drums). The album has also the participation of Theresa Thomason (vocals and backing vocals) and Mary Canty, Sheila Slappy, Mary Smith, Jeanette Smith, Clarence Burke Jr., Carol Cyrus and Dale Scott (backing vocals), as guest artists."Metropolis Part 2: Scenes From A Memory" is a sequel to "Metropolis Part I: The Miracle And The Sleeper", a song previously featured on the band's album "Images And Words". Fans had previously requested the band to make a sequel of the first part of the song. With the recording sessions for "Falling Into Infinity", their fourth studio album released in 1997, the band recorded a twenty-one minute instrumental demo of "Metropolis Part 2", but they didn't make it into that album. The demo, which included several citations from "Metropolis Part I" and many motifs that would later appear on "Metropolis Part 2", was however significantly different from the finished album version in the most part of it."Metropolis Part 2: Scenes From A Memory" is a conceptual album with twelve songs divided into two acts, and which are each also divided in five and four scenes respectively. Shortening, the story is about a man, Nicholas, which begins to have visions about the life of a girl Victoria. Determined to understand those visions, he eventually discovers that the young girl was murdered in 1928 trapped in a love trio. Thanks to his search, he finds his own self and thinks that someone else will live his life in the future, in the same way he has lived that of the poor Victoria now resting in heaven."Metropolis Part 2: Scenes From A Memory" is, in my humble opinion, the highest point of their entire career and one of the highest points of music, as a whole. It's true that the band had already proved to be composed by a group of tremendous musicians, but with this album the band plays in loud and heavy songs. On this album they have found the perfect balance between the heavy metal parts, with top speed keyboards and guitar solos, and the quieter parts like the two ballads "Trough The Eyes" and "The Spirit Carries On". All over the album the music follows the rules of a true classic conceptual album, with numerous sound effects and many recurring themes. "Metropolis Part 2: Scenes From A Memory" does have its heavier and more metallic moments, involving very fast double-bass drumming, courtesy of Portnoy, and some good heavy, but still very catchy guitar riffs delivered by Petrucci. The tempo is generally mid-to-slow paced and airs more on the prog rock side, as opposed to metal. The writing here is superb in every area, with elements of classical, jazz, blues, psychedelic rock, "Home", ragtime "The Dance Of Eternity" and gospel "Through Her Eyes" and "The Spirit Carries On" all being used and used brilliantly. Since this is Dream Theater, no real explanation is needed on the proficiency of the actual playing. Every member here is a virtuoso, as is usual. LaBrie is brilliant here as well, hitting some absolutely terrific high notes and putting a tremendous amount of feeling and soul into his singing.Curiously and according to the "Making Of Scenes From A Memory" video, Mike Portnoy explains that some of the influences for "Metropolis Part 2" are some conceptual albums such as "Sgt. Pepper's Lonely Hearts Club Band" of The Beatles, "Tommy" of The Who, "The Lamb Lies Down On Broadway" of Genesis, "The Wall" and "The Final Cut" of Pink Floyd, "Amused To Death" of Roger Waters, "Misplaced Childhood" of Marillion and "OK, Computer" of Radiohead.Conclusion: "Metropolis Part 2: Scenes From A Memory" is an exceptional album. It's my favourite Dream Theater's album and one of my favourite albums ever. This is truly a classic progressive rock album that fits perfectly well among the greatest progressive masterpieces ever. The concept is a little bit hard to explain but I personally like it. The music is just amazing, beautiful, difficult to play, moving and perfect. The thing I like better on this album is the perfect fusion sounds. Every instrument can always be heard perfectly clear but, if you hear all them together, you can perfectly understand what I call the perfection. "Metropolis Part 2: Scenes From A Memory" belongs to the very rare classic prog albums that we can classify as one of the masterpieces of the masterpieces. If we had the possibility of rate an album with 6 stars, it would belong certainly to those rare albums. Everyone interested in prog rock music must check it.Prog is my Ferrari. Jem Godfrey (Frost*) social review comments Review PermalinkPosted Thursday, December 15, 2022 Review this album Report (Review #2858200)
dream theater metropolis part 2 scenes from a memory rar file
When all were served he grew abstracted as he ate, and Saxton appealedto his hostess, as one college graduate may appeal to another, along theline of their college experiences. They had, it appeared, severalacquaintances in common, and Saxon recalled that some of his classmateshad often visited the college in which Miss Porter had been a student;and a little of the old ache crept into his heart as he remembered theways in which the social side of college life had meant so much less tohim than to most of the men he knew; but as she talked freely of her ownexperience, he found that her humor was contagious, and he even fell sofar under its spell as to recount anecdotes of his own student life inwhich his part had not been heroic. Porter came back occasionally fromthe land of his commercial dreams, and they all laughed together at theclimaxes. He presently directed the talk to the cattle business.
The dinner ended with a salad. This was not an incident but an event.The highest note of civilization is struck when a salad is dressed by amaster of the chemistry of gastronomy. The clumsy and unworthy hesitatein the performance of this sacred rite, and are never sure of theirproportions; the oil refuses intimacy with the vinegar, and sulks andselfishly creates little yellow isles for itself in the estranging seaof acid. The salt becomes indissoluble and the paprika is irrecoverableflotsam. The clove of garlic, always recalcitrant under clumsy handling,refuses to impart the merest hint of its wild tang, but the visible andtangible world reeks with it. It was a joy to John Saxton to see thedeftness with which Evelyn Porter performed her miracle; he did not knowmuch about girls, but he surmised that a girl who composed a saladdressing with such certainty did many things gracefully and well. Therewere no false starts, no "ohs" of regret and appeal, no questions ofquantity. The light struck goldenly on the result as she poured itfinally upon the crisply-curling lettuce leaves which showed discreetlyover the edge of a deep Doulton bowl. It seemed to him high treason thathis host should decline the dressing thus produced by an art whichrealized the dreams of alchemy, and should pour vinegar from the cruetwith his own hand upon the helpless leaves.
Evelyn and Saxton had met the others, who were coming up from the walks,and there was a redistribution at[Pg 116] the house; it was too beautiful to goin, they said, and the strolling abroad continued. A great flood ofmoonlight poured over the grounds. A breeze stole up from the valley andmade a soothing rustle in the trees. Evelyn rescued Wheaton and MissWarren from each other; she sent Raridan away to impart, as he said,further western lore to the Yankee. She followed, with Wheaton, the arcwhich the others were transcribing. A feeling of elation possessed him.The tide of good fortune was bearing him far, but memory played hide andseek with him as he walked there talking to Evelyn Porter; he was struckwith the unreality of this new experience. He was afraid of blundering;of failing to meet even the trifling demands of her careless talk. Heremembered once, in his train-boy days, having pressed upon a prettygirl one of Miss Braddon's novels; and the girl's scornful rejection ofthe book and of himself came back and mocked him. Raridan's merry laughrang out suddenly far across the lawn; he had done more with his lifethan Raridan would ever do with his; Raridan was a foolish fellow.Saxton passed them with Miss Marshall; Saxton was dull; he had failed inthe cattle business. James Wheaton was not a town's jester, and he wasnot a failure. Evelyn was telling him some of Belle Marshall's pranks at school.
Wheaton ran away from the livelier spirits of the Knights of Midas, whourged him to join in a celebration at the club after the ball broke up.He pleaded the necessity of early rising and went home and to bed,where, however, he slept little, but lay dreaming over the incidents ofthe night, particularly those in which he had figured. Many people hadcongratulated him, and while there was an irony in much of this, as ifthe whole proceeding were a joke, he had taken it all in the spirit, inwhich it had been offered. He felt a trifle anxious as to his receptionat the breakfast table as he dressed, but his mirror gave himconfidence. The night had been an important one for him, and he couldafford to bear with his fellows, who would, he knew, spare him no morethan they spared any one else in their chaff.
